Fall 2014 ARI 368R/388L: HISTORY OF INTERIOR DESIGN II Unique No. 00405/00440 Tuesday and Thursday 2:00‐3:30p WMB 3.108

Instructor: Dr. Tara Dudley Office: WMB 5.120B Office hours: Tuesday and Thursday 12:30‐1:30 or by appointment E‐mail: [email protected]

COURSE DESCRIPTION AND OBJECTIVES ARI 368R/388L will explore the history of interior design, covering the period from late eighteenth through the twentieth centuries. The primary goal of the course is to explore prevailing design philosophies as well as the relationship of interior design to architecture and the broader social context, including economic and social influences, throughout history.

This course will focus on developing students' visual vocabulary of interior design, including interior spaces, furniture, architectural details, and decorative arts objects. Students will familiarize themselves with sources and concepts used in interior design history and theory; enhance their critical thinking and writing skills; and develop methods for scholarly research within the field of interior design. Students will also hone their research and writing skills, with specific attention to standards of scholarship within the fields of architectural history, interior design history, design history, and historic preservation.

The course meets twice a week for one‐and‐a‐half hours. Students are expected to read a wide array of primary and background texts and write two short papers (3‐7 pages). They will also prepare a substantial research paper (8‐10 pages undergraduates, 10‐12 pages graduates) at the end of the semester.

PREREQUISITES ARI 368R/388L is open to graduate students and advanced undergraduates. SOA students must have completed Architectural Interior Design History I with a grade of at least a C, or with instructor consent. Upper‐division undergraduate and graduate students from other departments are welcome to enroll with the consent of the instructor.

REQUIRED TEXTS Cumming, Elizabeth and Wendy Kaplan. The Arts and Crafts Movement. London and New York: Thames and Hudson, 1991. ISBN 0‐500‐20248‐6

Harwood, Buie, Bridget May and Curt Sherman. Architecture and Interior Design: An Integrated History to the Present. Pearson/Prentice Hall, 2011. ISBN 0‐135‐09357‐0

Massey, Anne. Interior Design Since 1900. 3rd edition. London and New York: Thames and Hudson, 2008. ISBN 0‐500‐20397‐0

Whitford, Frank. Bauhaus. London and New York: Thames and Hudson, 1990. ISBN 0‐500‐20193‐5

COURSE WEBSITE Students can access the course website through Canvas, at https://courses.utexas.edu/. You will need an EID to login; if you are registered for the course, you should see Interior Design History II (00405/00440) under the list of My Courses. Course materials, including syllabus, reading assignments, auxiliary readings, and work assignments will be posted on this site. You may also be asked to submit some assignments electronically through Canvas.

ASSIGNMENT DUE DATE/EXAM SCHEDULE

Tues. Sept. 25 Short Paper No. 1 Due Thurs. Oct. 9 Mid‐term Exam Thurs. Oct. 23 Short Paper No. 2 Due Thurs. Nov. 4 Final Research Paper Abstract and Annotated Bibliography Thurs. Dec. 4 Final Research Paper Due Fri. Dec. 12 Final Exam, 2:00‐5:00 pm

COURSE REQUIREMENTS AND GRADING Students’ grades will be based on two short papers (20%), a mid‐term exam (20%), final research Paper Abstract and Annotated Bibliography (10%), final research paper (20%), final exam (20%), and attendance and participation in class discussions.

The distribution of percent and corresponding grades is given below (plus and minus will be given)

A (94‐100%) C (75‐73%) A‐ (93‐90%) C‐ (72‐70%) B+ (89‐86%) D+ (69‐66%) B (85‐83%) D (65‐63%) B‐ (82‐80%) D‐ (62‐60%) C+ (79‐76%) F (59% or below)

WORKLOAD GUIDELINES As a minimum, students are expected to spend about two hours of outside preparation for every hour in class. For this class it means a minimum of six hours outside of class per week; if writing assignments are due, students should expect to spend more time to complete their work. Required readings are outside preparation for this course and should be completed before class for the day they are assigned. Students are responsible for all the material in the required readings, whether or not the material has been discussed in class.

ATTENDANCE POLICY Class attendance is required. Students are also required to attend all discussion sessions. Your success in this class will depend, to a large degree, upon your attendance and active engagement. In‐class material will be reinforced in the required and recommended readings, and some in‐class material may not be covered in the readings. Students are responsible for all lecture material whether or not it is included in the assigned readings. Class attendance is required and will be monitored. Sometimes an illness, emergency, or other circumstances may cause you to miss class. You are allowed THREE absences for the semester. Missing extensive days results in a significant impact on your work, and to your participation in the class. EACH ABSENCE, FOR ANY REASON (except in rare extenuating circumstances) BEYOND THREE, WILL RESULT IN A REDUCTION OF YOUR FINAL EARNED GRADE. Therefore, 10 points of your total score will be deducted from your final grade for each absence after three absences. (For example, 4 absences = 10 points deducted from your total points. Five absences = 20 points deducted from your total points, etc.) If you miss class, try to borrow a classmate's notes. The instructor will not assume responsibility for providing class notes to you.

All exams must be taken on the dates scheduled. Students will only be permitted to take make‐up exams in the case of medical or family emergencies, or if they are away on official university business. Late papers will not be accepted. Please take advantage of my office hours to discuss the course or just to talk. If you cannot make my regular office hours, I am willing to meet you by appointment.

RELIGIOUS HOLIDAYS The University respects religious holidays. Students are excused from attending classes or other required activities, including examinations, for the observance of a religious holiday, including travel for that purpose. If you will miss class (including exams) to celebrate a religious holiday, UT Austin policy requires that you must notify me of your pending absence AT LEAST 14 days prior to the date of the observance of a religious holy day (and your absence). You will be given an opportunity to complete the missed work, including examinations, within a reasonable time (generally one week) after the absence.

ACADEMIC ACCOMMODATIONS FOR STUDENTS WITH DISABILITIES The University of Texas at Austin provides upon request appropriate academic accommodations for qualified students with disabilities. For more information, contact Services for Students with Disabilities at 471‐6259 (voice) or 232‐2937 (video phone). http://www.utexas.edu/diversity/ddce/ssd

WRITING COURSE This course carries the Writing Flag as a Substantial Writing Component (SWC). SWC courses are designed to give students experience with writing in an academic discipline. In this class, you can expect to write regularly during the semester, complete substantial writing projects, and receive feedback from your instructor to help you improve your writing. You will also have the opportunity to revise one or more assignments, and to read and discuss your peers’ work. You should therefore expect a substantial portion of your grade to come from your written work.

SWC courses meet the following criteria, as established by The University of Texas at Austin policy (see http://www.utexas.edu/provost/policies/writing/):

1. The course includes at least three writing assignments per semester, exclusive of exams and quizzes. 2. The three or more writing assignments total approximately 16 typewritten, double‐spaced pages (about 4,000 words.) 3. Major rewriting that requires additional original writing and not merely editing can be considered a separate assignment. 4. Students will receive timely and detailed critique following each writing assignment concerning the quality of their writing and suggestions for improvement. 5. Performance on the writing assignments is an important component of the student’s course grade. 6. Quality of written expression is an important component in determining the student’s course grade.

UT HONOR CODE AND ACADEMIC DISHONESTY The core values of The University of Texas at Austin are learning, discovery, freedom, leadership, individual opportunity, and responsibility. Each member of the University is expected to uphold these values through integrity, honesty, trust, fairness, and respect toward peers and community. Cheating and plagiarism (using another person's words or ideas without proper attribution) are serious academic offenses and may result in a failing grade or expulsion from the university! If you are unsure about what constitutes plagiarism or have questions about how to employ source material in your papers, please consult with me. You are encouraged to discuss your papers with your peers but the work you submit must be your own.

Plagiarism is the most common form of academic dishonesty. Plagiarism can be a difficult concept to define; however, simply put, plagiarism is using other people’s ideas and words without clearly acknowledging the source of that information. It is important to note that at the university we are continually exposed to other’s ideas. We read ideas and words in textbooks, hear them in lectures, discuss them in class, and incorporate them into our own writing. One must always keep in mind that you must give credit when credit is due.

Plagiarism can occur in a myriad of forms and media. Although most commonly associated with writing, all types of scholarly work, including architectural and interior design projects, music, scientific data and analysis, and electronic publications. Plagiarism includes, but is not limited to, the appropriation, buying, receiving as a gift, or obtaining by any other means another's work and the submission of it as one's own academic work offered for credit. University policy pertaining to scholastic dishonesty applies to in‐class assignments, projects, examinations, research reports, papers, and assignments required for the course. Additional information on the definition of academic dishonesty including plagiarism can be found at http://registrar.utexas.edu/catalogs/gi09‐10/app/gi09.appc03.html. In order to avoid plagiarism, you must give credit whenever you use:

∙ Another person’s idea, opinion, or theory; ∙ Any facts, statistics, graphics, visual images (i.e.: drawings, videos, etc.) that are not common knowledge; ∙ Quotations of another person’s spoken or written words; or ∙ Paraphrase of another person’s spoken or written words.

Students who are in violation of the university’s plagiarism policy may be subject to the following:

∙ Disciplinary probation ∙ Receive a failing grade for a test, assignment, or the course ∙ Creation of a disciplinary record which may impact their future ∙ Suspension or expulsion from The University of Texas at Austin ∙ Denial of degree

If you are unsure about what constitutes plagiarism and academic dishonesty, or have difficulty addressing source material in your papers, please consult with the instructor.

COURSE SCHEDULE (to be revised)

Week 1: Course Overview & Introduction

August 28 Syllabus & Course Overview

Week 2: 18th Century Neoclassicism in the U.S./19th Century Neoclassicism

September 2 American Federal Arch & Inter Design, Chap. 25 (pg. 287‐298) Canvas: Witold Rybczynski, Home: A Short Story of an Idea, Chap. 5 (pg. 101‐121)

September 4 French Directoire and Empire Arch & Inter Design, Chap. 27 (pg. 316‐327) CANVAS: Adrian Forty, Objects of Desire: Design and Society since 1750, Chap. 1 (pg. 10‐28) Research and Paper Writing

Week 3: Neoclassicism and the Ascendency of the Bourgeoisie

September 9 German Neoclassicism and Biedermeier Arch & Inter Design, Chap. 28 (pg. 328‐334)

September 11 British Greek Revival and English Regency Arch & Inter Design, Chap. 29 (pg. 335‐347)

Week 4: 19th Century Neoclassicism in the U.S./The Rise of the Neo‐Gothic in England

September 16 American Greek Revival/American Empire Arch & Inter Design, Chap. 30 (pg. 348‐361)

September 18 A.W.N. Pugin’s Gothic Revival Arch & Inter Design, Chap. 31 (pg. 365‐380) Cumming and Kaplan, Arts and Crafts, Chap. 1 (pg. 9‐30) CANVAS: A. Welby Pugin, “On Metal‐Work” from The True Principles of Pointed or Christian Architecture (1841)

Week 5: Ornament and Reform

September 23 Nineteenth‐Century Eclecticism Arch & Inter Design, Chap. 32‐35 (skim pg. 381‐438)

September 25 Industrialization and Its Discontents Arch & Inter Design, Chaps. 26, 40 and 41 (pg. 301‐314 and 501‐529) CANVAS: John Ruskin, “The Lamp of Beauty” from The Seven Lamps of Architecture (1849) CANVAS: Owen Jones, “The Theory of Style,” from The Grammar of Ornament (1856) CANVAS: Catherine Beecher and Harriet Beecher Stowe, excerpts from The American Woman’s Home (1869) from Leland M. Roth, America Builds (pg. 57‐68, 1983) SHORT PAPER NO. 1 DUE

Week 6: Arts and Crafts

September 30 Arts and Crafts Arch & Inter Design, Chaps. 42 and 43 (pg. 530‐558) Massey, Inter Design Since 1900, Chap. 1 (pg. 7‐29) Arts and Crafts, Chaps. 2 and 3 (pg. 31‐106)

October 2 Academic Historicism Arch & Inter Design, Chaps. 36‐39 (skim pg. 440‐500)

Week 7: Review and Exam Week

October 7 Emergence of the Interior Design Profession Inter Des Since 1900, Chap. 5 (123‐144) CANVAS: Elsie de Wolfe, The House in Good Taste, Chaps. 2‐4 (pg. 13‐34) CANVAS: Penny Sparke, The Modern Interior, Chap. 4 (pg. 73‐90) CANVAS: Tara Dudley, “Seeking the Ideal African‐American Interior: The Walker Residences and Salon in New York,” Studies in the Decorative Arts (Fall‐Winter 2006‐2007)

October 9 MID‐TERM EXAMINATION

Week 8: Search for a New Style

October 14 Frank Lloyd Wright Arch & Inter Design, Chap. 46 (pg. 590‐602) Arts and Crafts, Chaps. 4 and 5 (pg. 107‐178) CANVAS: Frank Lloyd Wright, “The Art and Craft of the Machine” (1901) Discussion of Final Paper assignments

October 16 American Arts and Crafts Arch & Inter Design, Chap. 46 (pg. 590‐602) Arts and Crafts, Chaps. 4 and 5 (pg. 107‐178) CANVAS: Louis Sullivan, “Ornament in Architecture” from Kindergarten Chats (1892)

Week 9: Art Nouveau

October 21 Aesthetic Movement and Art Nouveau Arch & Inter Design, Chap. 44 (pg. 560‐576) Inter Des Since 1900, Chap. 2 (pg. 31‐62)

October 23 Vienna Secession & Wiener Werkstatte Arch & Inter Design, Chap. 45 (pg. 577‐589) Frank Whitford, Bauhaus, Chaps. 1‐3 (pg. 9‐30) CANVAS: Sparke, The Modern Interior, Chap. 5 (pg. 91‐110) CANVAS: Josef Hoffmann, “The Workprogram of the Wiener Werkstätte” (pg. 7‐10) SHORT PAPER NO. 2 DUE

Week 10: Early Modernism

October 28 Emergence of Modernism Arch & Inter Design, Chap. 47 (pg. 603‐613) CANVAS: Kenneth Frampton, “The Deutsche Werkbund 1898‐1927” in Modern Architecture (pg. 109‐115)

October 30 Adolf Loos Inter Des Since 1900, Chap. 4 (91‐122) CANVAS: Adolf Loos, “Ornament and Crime” (1910) CANVAS: Christopher Long, “The Origins & Context of Adolf Loos’s Ornament & Crime”

Week 11: Modernism

November 4 Cubism and De Stijl Arch & Inter Design, Chap. 48 (pg. 614‐622) Bauhaus, Chap. 4‐9 (pg. 31‐101) FINAL PAPER PROPOSAL AND ABSTRACT

November 6 The Bauhaus Arch & Inter Design, Chap. 49 (pg. 623‐635) Bauhaus, Chap. 10‐13 (pg. 103‐150) CANVAS: Walter Gropius, “Manifesto of the Staatliche Bauhaus in Weimar” (1919)

Week 12: Modernism

November 11 Le Corbusier and the International Style Arch & Inter Design, Chap. 50 (pg. 637‐648) Bauhaus, Chap. 14 (pg. 151‐201) CANVAS: Le Corbusier, “Type‐Needs:Type‐Furniture” and “The Decorative Art of Today” from The Decorative Arts of Today (1925)

November 13 The 1925 Paris Exposition: Art Deco and Art Moderne Arch & Inter Design, Chap. 51 (pg. 649‐668) Inter Des Since 1900, Chap. 4 (pg. 91‐121)

Week 13: Interwar Modernism in Vienna and America

November 18 Wiener Wohnkultur and Scandinavian Modernism Arch & Inter Design, Chap. 52 (pg. 669‐683) CANVAS: Christopher Long, “The Other Modern Dwelling: Josef Frank and Haus & Garten” (1999)

November 20 American Design Between the Wars Selections from: Jeffrey L. Meikle, Twentieth Century Limited: Industrial Design in America, 1925‐1939. Philadelphia: Temple, 2001. Norman Bel Geddes, Horizons. New York: Dover, 1932. Kristina Wilson, Livable Modernisim: Interior Decorating and Design During the Depression. New Haven: Yale, 2004.

Week 14: Modernism in the Postwar Era

November 25 Postwar Design – The New American Home Inter Des Since 1900, Chap. 6 (pg. 145‐162) CANVAS: Dennis Doordan, 20th Century Architecture, Chap. 6 “Trends in Postwar Design” CANVAS: Penny Sparke, The Modern Interior, Chap. 10 “The Designed Interior” CANVAS: excerpts from Paul R. Williams, The Small Home of Tomorrow (1945) and New Homes for Today (1946)

November 27 No Class – Thanksgiving Break

Week 15: A New Age of Design

December 2 Postmodernism Arch & Inter Design, Chap. 57 (pg. 757‐770) Inter Design Since 1900, Chap. 8 (pg. 195‐218) CANVAS: 20th Century Architecture, Chap. 7 “Postmodernism, Deconstructivism...”

December 4 Conclusions and Review FINAL PAPER DUE

December 12 FINAL EXAMINATION 2:00‐5:00pm Location TBD

INSTRUCTIONS FOR PAPERS

All assignments must be submitted at the beginning of class on the due dates, in person or according to previously arranged electronic submittal protocol. Students will only be permitted to turn in late projects in the case of religious holiday observance, medical or family emergencies, or if they are away on official university business. Late assignments will be penalized, with a drop of ½ letter grade per day (including weekend days). Incompletes (“X” grades) will be awarded only in instances of medical or severe family emergencies. Documentation will be required. All students are required to write two short papers (3‐7 pages)and one longer final paper (8‐10 pages undergraduates, 10‐12 pages graduates) that will involve preparation of an abstract and annotated bibliography as well as the actual research paper. Papers will be typed and double‐spaced in a legible font (i.e. Times New Roman, Arial, Calibri) at 12 point. Please use a standard format for notes and bibliographical citations (such as the Chicago Manual of Style) and pay careful attention to the quality of your writing. Parenthetical documentation is NOT acceptable. Online sources are NOT permitted except with the approval of the instructor. Avoid jargon, awkward phrasing, and passive voice constructions. Please feel free to discuss with me any problems you may encounter.

Please remember that this course fulfills the Writing Flag. Clarity of ideas, grammar, sentence structure, and spelling counts as much as content. The successful paper will have a clear thesis statement, an introduction, body, and conclusion.

SHORT PAPER NO. 1 – ORNAMENT (due September 25)

This paper will be 3‐5 pages, double‐spaced. Please include a title page and bibliography.

This short paper explores Christopher Dresser’s approaches to defining and the creation of ornament. Design an ornamental pattern or detail following the procedure we will outline in class. Describe briefly your process and what you sought to achieve. We will share your designs and discuss your design processes in class.

SHORT PAPER NO. 2 – INTERIOR DESIGNER MANIFESTOS (due October 23)

This paper will be 5‐7 pages, double‐spaced. Please include a title page and bibliography.

Select from the following list an interior or industrial designer/firm:

 Robert Adam  Candace Wheeler  Percier and Fontaine  Ogden Codman  A.W.N. Pugin  Elsie de Wolfe  Owen Jones  Frank Lloyd Wright  Christopher Dresser  Adolf Loos  William Morris  Le Corbusier  Louis Comfort Tiffany  Others with approval

This paper will consider the writings of an important interior designer. This assignment is not to be a biography or retrospective of the designer’s work. Instead, please consider the following:  What writings/publications presented the designer’s design ideologies?  How did the writings describe the designer’s design process?  Analyze the designer’s writing and compare/contrast it with his/her built work (use specific examples of built work and direct quotes from his/her manifestos) o Do the designer’s completed projects align with his/her writing? How? o If there are discrepancies, why do you believe the designer was not able/chose not to follow his/her principles?  Did the designer’s design ideology change over time? Why or why not? If so, how was it reflected in his/her writing?  How did/has the writings of the designer influence contemporary and future designers?

Do not just repeat discussions we have had in class—draw your own conclusions.

FINAL RESEARCH PAPER (TBD)